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MUSICAL THEORISTS IN TRANSLATION
VOLUME 2
ROBERT DE HANDLO
Translated and Edited
By
LUTHER DITTMER
Institute of Mediaeval Music
1751 West 9th Street
Brooklyn 23, N. Y.
U.S. A.
MUSICAL THEORISTS IN TRANSLATION
VOLUME 2
ROBERT DE HANDLO
Translated and Edited
By
LUTHER DITTMER
Institute of Mediaeval Music
1751 West 9th Street
Brooklyn 23, N. Y.
U. S. A.
u
♦ Jr WIS
An Edition of:
600 Copies
Eine Auflage von
600 Exemplaren
NV 372
MUSIC L1BRARC
NT
322636
Copyright 1959 by the Institute of Mediaeval Music
1
The treatise Regulae cum maximis Magistri Franconis cum additionibus
aliorum musicorum compilatae a Roberto de Handlo exists today only in an
eighteenth century transcript, said to have been made by Dr. Pepusch
(1667-1752) from the manuscript London, British Museum, Cotton Tiberius
B ix and now contained in ibidem, Additional 4909 ff. 1-11 . The Cotton
manuscript was partially destroyed in the fire of 1731 and this portion
is unfortunately lost. The treatise has been published in full by E. de
Coussemaker, Scriptorum de musica medii aevi Vol. I, 1354, pp.
383-403, which volume will be cited simply as Coussemaker. Basically,
the text is not corrupt, attesting to the excellent copy of Dr. Pepusch,
if indeed he had transcribed the work as part of his antiquarian studies
relative to the older theory of music. Nevertheless, there are several
errors in Coussemaker' s text and in Dr. Pepusch' s copy, especially as
regards the musical examples. Since most of the musical examples given
by Handlo are freely conceived, we have disregarddd these and presenter
comparable ones which better illustrate the text, giving the modern
metric equivilents, wherever it is a question of durational values,
whereby the longa pe rfecta is always rendered as a dotted half-note
(reduction of 27 : 1).
The treatise was completed, according to its explicit in 1326 pro-
bably in England, and concerns itself with the principles of mensuration
of polyphonic music; liturgical chant is not even mentioned. This is a
manual for the practical musician and is explicit almost to the point of
becoming unbearably redundant. Nevertheless, this is a virtue among
mediaeval treatises, which are all so often ambiguous to us. The period
in question underwent great changes in notational design, and the ransre
of durational values extends from the nine-fold longa to the minima,
which occupies only a 243rd part of this. Robert de Handlo is quite
specific about the durational values of notes which may be combined with
each other; thus, the greater longaeare not used together with breves
or smaller values; more than two semibreves are not used in mos lasciius
unless longae and semilongae are not used as functional durational
values. It is truly unfortunate that there are not too many practical
musical examples from this time from England to apply the principles
inherent in this treatise; one such example and transcription, however,
is given.
Of all of the authors quoted by Handlo, only Franco of Coloene
is otherwise known in a thirteenth century treatise. The quotations from
Franco are to be found in similar, mostly verbatim statements in the compendia
made from Franco's treatise by Johannes Ballox, Coussemaker p. 292f f. ,
.Anonymous II, ibidem p. 296ff. , and Anonymous III, ibidem p. 319ff., con-
fice also Document V in E. de Coussemaker' s Histoire de I'harmonie au
moyen age.
Sources of Quotations in Handlo to the various Compendia of Franco's Treatise
Handlo Ballox Anonymous II Anonymous III
1-4 1-5
5-6 14-15
7-8 6-7
9-10 8-0
1-5
1-4
13-15
5-6
18-20
7-8
26-28
9-10
Handlo
31-34
38-41
50-51
58-72
75-78
81-90
93-105
128-134
139-141
153-159
419-421
426-429
441-442
471-474
478-480
485-486
521-523
540-544
548-549
556-561
567
572-577
667-668
672-675
729-739
741-758
778-781
784-785
800-801
813-814
817-818
824-826
Ballox
11-12 (33-34)
20 (40-41)
21-22
13-19, 23-29
30-33, 40-41
41-46, (98), 34-39
47-50, 54-56
57-63
69-70
71-73
74-76
77-79
80-83
An
onvmous
II
An
onvmous
III
97-99
84-86,
90
91-96
(= 559-561)
115-116, 113-114,
111-112, 108-110,
116-117 *
11-14 10-13
17-19 17-20
20 21
21-36 22-41
42-44
36-42, (87-90) 45-54
43-44, 46-50, (95-99)55-66.
51-56 67-74
57-58 75-76
59-67 77-85
72-73 93-95
75-77 96-98
78-79 99-100
80-82- 101-104
83-84 '
85-87
88-89, 103-105
106-107
• 90-91
95
95-98
108-109
110-111
112-120
121-134 (=
135-138
139
140
141
142
143-144
105-106
113-116
117-118,
147-148
119-124
125
130-132,
149-151
152-155
756-758) ---
156-
158
159-160
161-162
163-164
165-166
144-146
136-138
Line references are to the treatises in Coussemaker's edition, where the
columns of the individual works begin with the following lines: Ballox
P. 292a: 1; b: 7; 293a: 11; b: 30;' 294a: 51; b: 71; 295a: 87; 6: 102
296a: 125; 6: 133. Anon. II: P. 303a: 1; 6: 11; 304a: 20; 6: 35; 305a
55; 6: 72; 306a: 90; b: 108; 307a: 133; b: 143; 308a: 169; b: 185; 309a
196; 6: 219; 310a: 236; 6: 247; 311a: 287; b: 306; 312a: 340; b: 377; 313a
388; b: 343; 314a: 396; b: 401; 315a: 408; b: 412; 316a: 417; b: 422
317a: 427; b: 433; 318a: 440; b: 442; 319a: 447; 6: 449. Anon. Ill: P. 319a
1; b: 8; 320a: 12; 6: 22; 321a: 38; b: 59; 322a: 82; 6: 99; 323a: 119; b
139; 324a: 156; b: 170; 325a: 202; b: 225; 326a: 236; 6: 245; 327a: 266
b: 271. Robert de Handlo: P. 383a: 1; b: 6; 384a: 14; 6: 35; 385a: 58; b
69; 386a: 86; b: 103; 387a: 122; 6: 135: 388a: 158; b: 174; 389a: 209; b
337; 390a: 357; b: 375; 391a: 389; b: 410; 392a: 428; 6: 452
6: 490; 394a: 508; 6: 528
b: 620; 398a: 639; b: 653
b: 792; 402a: 815; b: 827
395a: 545; 6: 562; 396a: 3 7 K: b: 594
399a: 672; 6: 690; 400a: 713, b: 742
403a: 856; 6: 862.
393a: 473
397a: 608
40ia: 769;
The following technical terms are used in their Latin forms, and are
explained in the section indicated; for convenience sake, the plural
forms are given in parentheses:
brevis (breves)
altera(ta) (alteratae, alterae)
coniugens (coniugentes )
erecta (erectae)
coniunctura (ccniuncturae)
cum opposita proprietate
cum, sine perfectione
cum, sine proprietate
divisio modi (divisiones modi)
figura rotunda (figurae rotundae)
ligatura longaris (ligaturae longares)
longa (longae)
duplex (duplices)
erecta (erectae)
imperfecta (imperfectae)
perfecta (perfectae)
plicata (plicatae)
simplex (simplices)
triplex (triplices)
minima (minimae)
minorata (minoratae)
mos lascivus (mores lascivi)
mos longus (mores longi)
mos mediocris (mores mediocres)
plica (plicae)
punctus divisionis (puncta divisionis)
semibrevis (semibreves)
minor (minores)
semilonga (semilongae)
erecta (erectae)
signum rotundum (signa rotunda)
Rubric
1
, Rule IV
Rubric
3
Maxims 2
and 3
Rubric
9
Rule X
Rubric
1
Rule VII
Rubric
9
Maxim 3
Rubric
6
Rule XIX
Rubric
8
Rule I
Rubric
6
Rules I and IX
Rubric
3
Rule III
Rubric
9
Rule II
Rubric
6
Rule XI
Rubric
1
Rule I
Rubric
2
Rule IV
Rubric
1
Rule III
Rubric
2
Maxim 1
Rubric
2
Maxim 1
Rubric
1
Rule III
Rubric
5
Rule I
Rubric
5,
Rule I
Rubric
4
Rule XII
Rubric
4
Rule XII
Rubric
4
Maxims 4
and 5
Rubric
4
Maxims 4,
5&6
Rubric
4
Maxims 4
and 5
Rubric
10
, Maxim 1
Rubric
4
Rule VI
Rubric
1
Rule VII
Rubric
4
Maxim 1
Rubric
2
Maxim 2
Rubric
9
— i
Rule III
Rubric
4
Rule XI
The following English equivilents are used in translating technical
terms:
durational unit
durational value
larger semibrevis
ligature
oblique figure
perfection
plicate
practical musician
rest
smaller semibrevis
stem
tempus (tempora)
valor (valores)
semibrevis maior (semibreves maiores)
ligatura (ligaturae)
obliquitas (obliquitates)
perfectio ( perfect iones)
perplicare
cantor (cantores)
pausa (pausae)
semibrevis minor (semibreves minores)
tractus (tractus)
Corrections to the Text of Coussemaker' s Edition
Page
383a after 1
383b before 1
383b before 4
383b before 8
384a before 3
384a before 5
384a before 8
384a before 11
384a before 13
384al5
384a before 16
384a before 18
384a before 20
384b before 1
384b before 4
384b before 6
384b before 8
384b before 11
384b before 14
384b before 16
384b before 18
384b before 20
387b4
393al
394a before 8
394a before 11
394a before 14
394a before 17
394a before 20
394b before 3
394b before 6
394b before 9
394b before 13
395b7
396a before 10
396a before 12
396a before 15
398a7
398b before 1
399b8
400al2
400b8
400bl6
401a9
401al5
401bl2
402a9
402b3
Correct
ion
Add Regula I
Add Regula II
Add Maxima 2
.Add Regula III
Add Maxima 3
Add Regula IV
Add Regula V
Add Maxima 4
.Add Regula VI
vocatur instead of vecatur
-Add Maxima 5
Add Regula VII
Add Regula VIII
Add Maxima 6
Add Regula I
Add Maxima 1
Add Maxima 2
.Add Regula II
.Add Regula III
Add Regula IV
Add Maxima 2
Add Regula V
brevis habet instead of brevis babet
descendentem instead of ascendentem
Add Regula XVII
Add Regula XVIII
Add Regula XIX
Add Maxima 10
Add Regula XX
Add Regula XXI
Add Regula XXII
Add Regula XXIII
Add Maxima 11
continuat instead of desinat
Add Regula X
Regula XI instead of Regula X
Add Maxima 2
inveniuntur instead of inveniantur
Add Maxima 2
obliquitatibusque instead of obliquitatibsv»
maioris instead of valoris
partis instead of perfect ionum
minor atam instead of maiori
non possunt instead of possunt
derivitur instead of deserutur
brevi precedente instead of precedente
quarta rubrice instead of rubrice
duobus instead of unius
In the manuscript London, British Museum.,
treatise, in relationship to the transcription
tained on the following folios:
Additional 1*909, this
in Coussemaker, is con-
l r
l v
2 r
2 V
3 r
3 V
4 r
4 V
5 r
5 V
6 r
383al to p. 383al5
384al6 to p. 385a6
385a6 to p.
386b7 to p.
387bll to p.
388b23 to
38%9 to
390b5
391b7
392b3
393b7
to
to
to p.
to p.
386b7
387bll
388b23
389b9
390b4
391b6
392b3
393b7
394b6
6 V
7 r
7 V
8 r
8 V
9 r
9 V
10 r
10 v
ll r
p-
393b7
to
p-
395al4
p-
395al4
to
p-
396al6
p.
397bl
to
p-
397b9
p-
397bl0
to
p.
398bl2
p-
398bl3
to
p.
399b6
p.
399b6
to
p.
400al8
p-
400al8
to
p-
401a9
p-
401al0
to
p.
401b21
p-
401b22
to
p.
402bl6
p-
402bl6
to
p.
403bl0
The Rules of Robert de Handlo
Here begin the rules with maxims of Master Franco together with the
additions of other musical scholars , compiled by Robert de Handlo.
Here begins the first rubric, which concerns itself with longae ,
breves and semibreves , and how they may be divided.
Maxim 1
Franco: The moderns rejoice in brevity, etc.
Rule I
Idem: Whenever a square figure or a square note, the two terms being
identical in meaning, has a stem drawn downwards on the right side, it
is called a longa, as in the following example:
Rule II
Handlo: If it has a stem drawn upwards on the right side, it is called a
longa erecta, as in the following example:
i.jj'*
M
axim I
These longae erectae * » are put onto the right side of the preceding
longae, which are considered to be longae erectae, and they are called
longae erectae , because whenever they occur, they are raised by a halftone.
Coussemaker p. 383al to p. 383b7
1) The longa erecta is discussed, apparently, only in the treatises of
Rule III
Franco: A longa which has two stems, where the right one is longer than
the left, is called a longa plicata, as in the following example:
Y
Maxim 3
Handlo: Longae erectae, whether they be perfect or imperfect, may never
be plicated.
Rule IV
Franco: Whenever a square figure is found that has no stem at all, it is
called a brevis, as in the following example:
,- = J
Rule V
Handlo: If it has a stem drawn upwards on the left side, it is called a
brevis erecta, as in the following example:
l.J 73
— 3
Maxim 4
.And it raises the note by a halftone, just as in the case of the
longa erecta.
Coussemaker p. 383b8 to p. 38Hal2
Handlo and Hanboys, and has the same attributes as the longa recta {id est it
may be perfect or imperfect), except that it may not be plicated, and will be
sung a half-tone higher. In the tenth rubric, however, Handlo states in the
chapter heading, that a plicated longa simplex is the same as a longa erecta.
In rule VII of that rubric, Handlo is not too precise; there, he states that a
plicated longa at the end of a composite figure will become a longa erecta, if
the following note i-s one toward which the plica can be directed. A plicated
note could be directed to another note, if it formed a dissonance with a lower
or higher part, as exempli gratia when the plicated note is high e, and the
tenor has low F; this would be an appogiatura, which would be followed by a
rest. It could also be directed to a note a third above, or possibly also to
one of the same pitch. Externally, of course, a plica drawn upwards after a
composite figure would look exactly like a longa erecta. Handlo and Hanboys
feel that the plica is to have the durational value of a smaller semibrevis under
these circumstances, and possibly this division also obtains for the longa
erecta. It would thus appear, that the only possible difference between a
plicated longa and a Zonga erecta, is that the auxiliary tone of a longa erecta
must be a minor second, that of a plicated longa may also indicate other in-
tervals.
Rule VI
Franco: A brevis which has two stems, where the left one is longer than
the right, is called a brevis plicata, as in the following example:
^3 ^3
Maxim 5
Handlo: The breves erectae, like the longae erectae, cannot be plicated.
Rule VII
Franco: The semibreves are shaped in the form of a losenger, as in the
following example:
Rule VIII
Idem: They cannot be plicated, unless three are grouped together over a
syllable:
* 9 3
V
Maxim 6
Handlo: When they are grouped together, they are said to be conjoined in
their own fashion, whereby the final note may be plicated only in an
upwards direction, never downwards.
Here begins the second rubric, which concerns itself with the longa,
the semilonga and the longa duplex, as well as with their durational
values.
Rule I
Franco: A longa before a longa has the value of three durational units,
as in the following example:
b a o • o .
Maxim 1
Idem: The longa of three durational units is called a longa perfecta;
the longa of two durational units is called a longa imperfecta.
Coussemaker p. 381al3 to p. 38Hb7
Maxim 2
Handlo: It is more appropriate to call a longa imperfecta a semilonga,
and a per fee ta a longa.
Rule II
Idem: The semilonga and the lon&a have the same note shapes, but are
different in their musical proportions and presentation, as in the
following example:
VI
Rule III
Idem'. The same holds true for the longa and semilonga erectae, as in the
following example:
J J
Pule IV
Franco: The longa duplex contains six durational units, and is formed in
the following manner:
mm = O-
Maxim 3
Handlo: The longa erecta is not involved, since it is a simplex note.
Rule V
Idem: A longa duplex contains five durational units, if it is either
preceded or followed by a brevis or its equivilence . >, as shown in the
third rule of the fifth rubric, and in the example included there.
Here begins the third rubric, which concerns itself with distin-
guishing the longae from the semilongae and vice versa by the use of
breves, semibreves and rests appended to them; in addition, the brevis
altera and the equivilence of breves will be discussed.
Rule I
Franco: Whenever a single brevis or its equivilence precedes a longa,
the latter is made imperfect, as in the following example:
Coussemaker p. 38468 to p. 385a2
1) Confice the transcriptions of Nos. 44 and 47 in my The Worcester Fragments ,
1957; facsimiles of these compositions are included in the series Facsimiles
of Mediaeval Musical Manuscripts , Volume V.
[tule li
Idem: If a single brevis or its equivilence follows a ionga, the latter
is made imperfect, as in the following example:
3
, . , ♦ M y - J J J J> J J *
Rule III
Idem: This is true, unless the passage is clarified by a divis* > wo^i,
as in the following example:
■ •■■■•♦♦* ■ • = 0. J J 0* J' J J J.
Maxim 1
Idem: In this case, the first longa will have three durational urn
and the brevis or equivilence, which follows, will relate to the following
longa, and make it imperfect.
Idem: It is known that all breves may be made uneaual in dur < r lonal v
in three ways: First of all, whenever two breves occur between • -n loigne ,
the first brevis will contain one durational unit, the seconc .-.-• two,
and the latter one is called a brevis altera.
Maxim 3
Handlo: It is more appropriate to call this a brevis alterata, becau-
it has been altered from its proper durational value ,,.
Rule IV
Franco: The surrounding longae are perfectae , as in the following example:
3
■ ■•^♦♦♦■^ s d. J 6 a- 6 . J J J J J.
Rule V
Idem: This is true, unless a single brevis or equivilence precedes or
follows, as in the following example:
• v-ii»»»-i- = J J JJ J. J. JT2J J J
Maxim 4
Handlo: Thus, two breves between two longae are unequal in durational
value.
Coussemaker p. 385a3 to p. 385b 1 2
1) The distinction that Handle us trving to make, shows that he no longer
understands, that the brevis altera was originally so called, because it was
the second of two breves between longae. Handlo thinks it better to call it a
brevis alterata, that is an altered brevis.
10
Rule VI
Franco: This is true, unless the passage is clarified by a divisio modi,
as in the following example:
Maxim 5
Idem: In such a case, both breves are equal in durational value; the
first one makes the first longa imperfect, the second one similarly the
second longa.
Rule VII
Idem: If three breves should come between two longae , such breves are
equal in durational value, and the surrounding longae are perfectae, as
in the following example:
q • ■ ■ , = J. JJJJ.
Rule VIII
Idem: This is true, unless a brevis or equivilence precedes or follows
the afore-mentioned longae, as in the -following example:
-vv-v = JJ JJJJ JJ>JJ JJJJ J5
Maxim 6
Handlo: Consequently, three breves between two longae are equal in
durational value.
Rule IX
Idem: This is true, unless the passage is clarified by a divisio modi,
as in the following example:
■ ■•■■■ s •
Maxim 7
Idem: In such a case, the first brevis makes the initial longa imperfect,
the second has one and the third has two durational units, this being a
brevis altera; and this is the second way in which breves may be made
unequal in durational value.
Coussemaker p. 385b 1 3 to p. 386a 1 3
Rule X
Idem: The third way, in which breves may become unequal in durational
value, is found if more than three breves occur between longae , or, if
the initial longa is missing, the same state of affairs remains; the
breves are counted in groups of threes, each equal to a perfection; if
two breves should be left over at the end, the last brevis will have two
durational units, as in the following example:
! V J. J JJJJ J JJ J-, =JJ JJJ J,
Rule XI
Handlo: If, however, four breves should occur between longae , there is
the possibility that either the initial longa will be perfecta, whereby
the following three breves will be counted as a perfection, and the last
brevis will make the final longa imperfect, or the first brevis will
make the initial longa imperfect, whereby the following three breves
will be counted as a perfection, and the final longa will be perfecta; I
might add to this, that only if for some reason the second method is
impossible, will the first method be resorted to ,<> , as in the following
example:
V .. B1 « J.JJJJJ.J J J J J J-
Rule XII
Idem: The situation is changed, however, when a divisio nodi is added,
as in the following case:
^•■■■■^ = J-JJJJJ
Maxim 8
Idem: In this case, the first method is applied.
Coussemaker p. 386a I U- to p. 386b I M^
1) The significance of prefering the second method to the first, is to hold
that the division semilonga brevis of the perfection is more usual than brevis
senilonga {id est, first, as opposed to second mode).
12
Rule XIII
Idem: If, however, five breves should occur between two longae, the com-
putation returns to what Franco has said (Rule X): The initial longa
perfecta has the same durational value as the first group of three equal
breves, whereas the last two breves will be unequal in durational value,
because the final brevis is alterata, as in the following example:
1= J.JJJJJ J
Rule XIV
Idem: The situation is changed, when a divisio modi is added, as in the
following case:
v= J JJ'JJJJ
Maxim 9
Idem: In such a case, the first brevis makes the initial longa imperfect;
the following three breves are equal in durational value, and the last
brevis makes the final longa imperfect.
Rule XV
Idem: It is known, that the .brevis alterata may be erecta, just like the
brevis erecta, as in the following example:
^.b.kb 1 . J. JJjAi. -iftj_.A).
Here begins the fourth rubric, which concerns itself with the semi-
breves as well as with their equality, inequality and method of division, and
how many may be combined to total the durational value of the brevis and
the longa.
Rule I
Franco: Whenever two semibreves occur between two longae or breves, or
between a longa and a brevis or vice versa, the first semibrevis occupies
one semibrevial unit of time, that is the third part of one durational
unit, whereas the second will occupy two, as in the following example:
^.^j...,. J j£jj. JJ3JJJJ.
Coussemaker p. 386bl5 to p. 3 87 a 1 1
-
Rule II
Idem: If three semibreves should occur, then they are equal in durational
value, as in the following example:
Maxim 1
Handlo: The semibreves are called equal in durational value, when three
replace a brevis, and they are said to be minores. The smaller semibrevis
occupies one third of the durational value of a brevis.
Rule III
Franco: If four semibreves should occur between two longae or breves,
they are always counted in twos, and each group is equal to a brevis
recta, as in the following example:
♦ ♦ ♦ ♦
,.♦♦♦♦< = J JUJU J J j>j/j J.
1
Maxim 2
Handlo: The afore-mentioned rule of Franco's, the third one of this
fourth rubric, has validity whenever the brevis does not provide the
beat, except when groups of three semibreves are formed, as in hockets
and in many motets . ,
Rule IV
Idem: In motets and other compositions, it is always safer and more
correct <o add a punctus divisionis wherever semibreves occur between
groups o^ two and two, or three and three, or even between three and two
such notes, as has been done by Petrus de Cruce. This same procedure is
followed by the modern practical musicians, as in the following example:
♦ ♦•♦♦♦•♦♦
. J>J J73i)J
Coussemaker p. 387al2 to p. 387618
1) The exception is given in rubric 12, maxim 5 paragraph C, where the
hockets, formed in this manner, not only are beaten in s emibrev es , as also
those described in paragraph B, but also need not form groups of three semi'
breves equal to a brevis. Undoubtedly, because of this lack of the unifying
power of a perfect brevis, this is the most difficult type, as Iacobus de
Navernia describes it. Apparently, this is also found in many motets, perhaps
some of those in the later fascicles of the Montpellier manuscript {H 196) are
to be considered in this light.
14
Rule V
Franco: It is known, that whenever more than three senibreves occur
between two longae or breves, or between a longa and a brevis or vice
versa, the a fore -mentioned senibreves are unequal in durational value,
unless a group of three senibreves is left over at the end, in which
case these are equal in durational value, as in the following example:
i 1= J JUJijJJJ jQjQjfij.
Rule VI
Idem: This is true, unless the passage is clarified by a divisio nodi,
as in the following example:
i- J. JI3JIJJJ7JJijj5j
Maxim 3
Handlo: Consequently, when a punctus divisionis is put between groups of
three and three semibreves , it causes them to be equal in durational
value; and if two semibreves are left over at the end, they are unequal
in durational value.
Rule VII
Petrus de Cruce: Our intention becomes evident in the case of the seni-
breves; as has been said, we put a punctus divisionis between groups of
two semibreves , and these are thereby rendered unequal in durational
value; that is, the first is the smaller, the second the larger semi-
brevis. If we put a punctus divisionis between groups of three seni-
breves, they are equal in durational value; that is, they are all smaller
semibreves. If we put a punctus divisionis between groups of two and
three semibreves , the two are unequal, the three equal in durational
value. If we put a punctus divisionis between groups of three and two
semibreves, the three are equal, the two unequal in durational value, as
in the following example:
** *f 3
= /73/73J>j
Maxim 4
Petrus le Viser: A. The longae, semilongae , breves and semibreves are
really performed in three different ways in vocal music, namely in nos
longus , mos mediocris and mos lascivus i ,.
Coussemaker p. 3 87 b 1 9 to p. 388b2
1) I wish to take this opportunity to correct my statement in Die Musik-
B. In mos longus, an unlimited number of semibreves may be offered
and represented with longae, semilongae and breves.
C. In mos mediocris , three, four or five semibreves may be offered
for a brevis together with semilongae and breves and occasionally with
longae; in such a case, the semibreves should always be conjoined and
never presented disjunct, and if they be disjunct, they may be divided
into three and no more.
Maxim 5
D. In mos mediocris , two semibreves are equal in durational value,
three are unequal, four again equal and five unequal. In mos longus, all
of the afore-mentioned rules, concerning the equality or inequality of
semibreves , are pertinent; in mos mediocris , however, they are never
pertinent.
E. In mos lascivus, longae, semilongae and breves and occasionally
even longae duplices are offered together with the smaller and larger
semibrevis , which may consist of individual notes, ligated or oblique
figures; however, three, four or five semibreves may not occur in mos
lascivus , unless the longae and semilongae are not used. When longae and
semilongae are omitted, only breves and semibreves are offered, in which
case two or three semibreves may be used for a brevis, but never more.
F. Many lascivious hockets utilise semibreves in this manner, in
which case the second maxim of the third rule of this rubric has validn ■..
Rule VIII
A. In mos lascivus , we deny the existence of breves alterae and of
all unequal breves, and we affirm their equality.
B. Thus, when two breves are put between two longae in mos lascivus,
they are equal in durational value, and the surrounding longae are
imperfect; thus, we deny the validity of the fourth rule of the thirH
rubric, as pertaining to compositions in mos longus ,
C. If in mos lascivus , three breves occur between two longae, the
surrounding longae are perfectae , unless a brevis or equivalence should
precede or follow them, as has been shown in the fifth rule of the third
rubric.
Coussemaker d. 388b3 to p. 389a5
forschung, X 1957 p. 191; Mos longus undoubtedly owes its name to the fact that
the longer note values are of excessively long duration, whereas the basic
rhythm of the composition moves in breves and semibreves. The composition^
associated with the style of Petrus de Cruce, for example, would be performed
in this manner, as the example given in rule VIII of this rubric. The other two
mores permit binary rhythm; in fact, if semibreves are used, they must be
measured equally in mos mediocris . Mos mediocris does not require a subdivision
of the brevis, since no more than three independent s emibreves may occupy the
durational value of the brevis. It is called mediocre, undoubtedly, because the
larger note values move at an ordinary tempo. Mos lascivus is used mainly in
hockets, but possibly also in some motets; the term lascivious undoubtedlv
implies its wanton character; there will be a hocket without generating a
specific feeling for a larger containing unit, especially one containing
three smaller units. Perhaps, it is also lascivious because it may use smaller
or larger values, the rules of alteration being voided; thus, the third and
fourth modes are made binary ( rubric 13 , maxim 9) if this method of presentation
is used. Perhaps the suggestion that this might be done implies the fact that a
choice existed in the method of performance of some works.
16
D. The breves, which are put between such longae, are equal
durational value, as shown in rule VII of the third rubric.
in
Petrus de Cruce: A. Four disjunct or conjunct semibreves have the dura-
tional value of one brevis, whether they be put between breves or semi-
breves, which are in ligatures or in oblique figures.
B. If four semibreves occur between disjunct semibreves, and if a
punctus divisianis follows them, they will have the durational value of
one brevis.
C. The same may be said about five, six or seven semibreves which
occur, set off by a following punctus divisionis, as shown in the fol-
lowing motet (Montpellier H 196 No. 254):
3r
Au-cun ont tro-ve chant par u - sa-ge, Mes a moi endoune o-choi-son
3. 3 - i - 3 3 3 3
& P r p p p p p P i p p p pfg
s
t
" Au-cun ont tro-ve chant par u - sa-ge, Mas a moi en doune o-choi-son
Maxim 6
Petrus le Viser: All of this obtains, when semibreves are offered in mos
longas.
Maxim 7
Iohannes de Garlandia jV: In the following work, we shall give the good
and proper method of judging semibreves .
Pule IX
It is proper for the larger semibrevis to be distinguished from the
smaller not only by external shapes, but also by means of notational
siens, notably: If it is a larger semibrevis, it is shaped like a losenger,
having a stem drawn downwards attached obliquely; if it is a smaller
semibrevis, it is shaped only in the form of a losenger, as in the fol-
lowing example:
♦t
= J) J
Rule X
Handlo: Quite often, the larger semibrevis will precede the smaller, or
vice versa, and the punctus divisionis will not be used, as in the fol-
lowing example:
3
r . T * = J J>J'J>
Coussemaker p. -389a6 to 38952
1) Not to be identified with the' Iohannes de Garlandia, the author of the
treatises in Coussemaker pp. 97ff. and 1 57 ff. , but rather wi th the person quoted
by Hanboys (ibidem, p. 424b inter alias), if the name has not been nisatt ributed.
17
Maxim 8
Iohannes de Garlandia: Three, four, five, six, seven, eight or nine semi-
breves may be added together to form the equivilence of a brevis', they
will contain the durational value of one brevis.
Rule XI
Idem Iohannes : It is important to be able to recognise minimae and
minoratae ; the semibrevis minor has the durational value of three
minimae , whereas the brevis contains three semibreves minores. Con-
sequently, a brevis has the durational value of nine minimae. It is
necessary to notate the minimae like semibreves minores, but the minimae
are distinguished by the use of a signum rotundum ,., as in the following
example:
♦ ♦ ♦ o =
nm
Rule XII
Idem: There are also semibreves minoratae ; thus, one minorata has the
durational value of two minimae, and is shaped like the larger semi-
brevis] normally, the minima precedes the minorata, when the signum
rotundum surrounds them, as in the following example:
+ *o + fo*fs
.9 .9 J?
Rule XIII
Idem: If a single semibrevis has a signum rotundum after it, it is said
to be a smaller semibrevis , and then it must be found mixed among
minimae and minoratae. Two smaller semibreves have two signa rotunda to
distinguish the minimae and the minoratae , when the third semibrevis is
missing, as in the following example:
3
♦ o ♦♦ .♦♦'♦. * J>«f3 ffl
I 3 3
Rule XIV
If groups of minimae and minoratae contain the durational value of
three smaller semibreves , they have a punctus divisionis at the end, as
in the following example:
♦ ♦(>♦♦♦ <>♦♦♦. = «TJ Jj3 J J J
1 3 3 3
Coussemaker p. 389b3 to p. 390a5
1) Signa rotunda are present in such a source as London, Westmins ter Abbey,
12185, a double leaf not the middle of a gathering. F. 2 r is offered in
facsimile with a transcription of the composition Beatus vir qui regum in this
work. Similar notational devices are to be found in the other compositions of
this fragment: f. l r Viri galilei, f. l v Hec avalle lacri&osa, f. 2 r Nos
orphanorum, f. 2 4 solis ortus cardine and Salvator mundi domine.
18
Rule XV
Handlo: A minorata may not be used without a preceding minima, as in the
following example:
3
f o » f o ♦ ♦• = # J J"J
J J j
Rule XVI
Idem: A. Hiere are many ways in which the larger and the smaller semi-
breves, or their equivilence the minorata and minima may be decribed.
B. A brevis will have the same durational value as one larger and
one smaller semibrevis , or three smaller semibreves which are equal, or
three minimae and three minoratae combined, or nine minimae.
C. Three breves constitute a perfection; thus, a perfection will
have the same durational value as twenty seven minimae, or nine minimae
and an eaual number of minoratae , or nine smaller semibreves and an
equal number of smaller semibreves or vice versa, as in the following
example:
1= >. ■ «♦f ♦ f* f «♦♦ ♦• ♦♦♦•♦♦♦«♦fo*fo#f.
♦ ♦©♦♦o#f##o*fo ♦♦•=♦♦♦ o ♦♦♦(>♦♦♦•♦♦♦ o
Rule XVII
Iohannes de Garlandia: Thus, the larger and smaller semibreves in disjunct
or conjunct form may be used along with minimae and minoratae , as in the
following example:
m.i . t> ♦♦♦•♦♦. = /3 «n bFRF]
Here begins the fifth rubric, which concerns itself with longae
which exceed the durational value of a longa duplex, and how they must
be notated and how they may be related to other notes.
Rule I
Handlo: A. A figure containing three squares is a longa triplex, that is
it is called a note of three perfections.
B. If it contains four squares, it is said to be a note of four
perfections.
C. If it contains five squares, it is considered a note of five
perfections; if six, six; if seven, seven; if eight, eight; if nine, nine.
D. It is impossible to increase the longa beyond this.
E. This is because, just as the longa simplex has the durational
value of nine semibreves minor es , so also the longa of nine perfections
is permitted to have only the durational value of nine longae and no more.
Coussemaker p. 390a6 to p. 39la2
19
F. The note shapes of all of these longae are given in the
following example:
irn 1 1 1 1 I 1 1 1 1 1 1 1 1 1 1 1 i | i M 1 1 1 1 1 ii 1 1 i 1 1 i | 1 1 1 i i i 1 1 i |
Maxim 1
Idem: The older organum purum used such longae, but did not notate them
in this fashion; we have notated them, however, in this fashion, that
they might be more easily recognised , ,.
Maxim 2
Idem: These afore -mentioned longae may never be made imperfect, because
they may not be used in conjunction with breves and semibreves . It is
only possible to use them with longae simplices and duplices .
Rule II
Idem: Longae must be combined with breves, and may be used in conjunction
with the larger and smaller semibreves, but never with minimae and mi-
noratae. Breves may be combined with longae duplices , as well as with
semibreves and oblique figures, as in the following example:
1 -^ 1 = j jj n j
Rule III
Idem: The longa duplex, that is the note of six durational units, may be
made imperfect by a brevis preceding or following, or by a rest of one
durational unit, and it thereby becomes a longa of five durational units,
as in the following example:
, = j j_j. «u J J JJ. i JJ. JJ i
■h-v Tin
Maxim 3
Idem: A. Breves must be combined with the larger and smaller semibreves ,
and with minimae and minoratae.
B. It is improper for there to be other groupings.
C. We have thus shown, which notes may be combined together.
Here begins the sixth rubric, which concerns itself with the re-
cognition of the various ways in which ligatures and oblique figures can
form their initial part, and the manner in which oblique forms may be
used in ligatures.
Maxim 1
Handlo: The initial parts of ligatures are formed in three ways, notably:
with propriety, without propriety, and with opposite propriety.
Coussemaker p. 331 a3 to p. 391 b9
1) Organum. purum is still connected with the technique of holding tones for
longer periods of time.
20
Rule I
Franco: Whenever the second note is higher than the first, and the first
has no stem whatsoever, the ligature is said to be cum proprietate , as
in the following example:
-■3 a /S
Rule II (Maxim 2)
Handlo: If the first note has an ascending or descending oblique figure
above it, and if it has no stem, it is said to be cum proprietate , as in
the following example:
\f$
Rule III (Rule II)
Franco: Whenever the first note is higher than the second and has a
stem drawn downwards on the left side, it is said to be cum proprietate ,
as in the following example:
•
•\ \
Maxim 2 (Maxim 3)
Handlo: A ligature is a collection of notational symbols, which are pro-
perly formed from individual notes and oblique figures. An oblique
figure is a solid field, containing two sung notes; it goes without
saying, that only the first and last notes ace to be performed, while
the middle notes are passed over without being sung.
Maxim 3 (Rule III)
Idem: It is necessary to distinguish an oblique figure from a ligature,
when the former occurs alone.
Maxim 4
Idem: An oblique figure. may be used alone, or may be combined at the
beginning of a ligature, and may be formed in the three ways described
in the first maxim of this rubric.
Maxim 5
Franco: The first note of a ligature cum proprietate is a brevis.
Maxim 6
Handlo: The same may be said about the first note of a simple oblique
figure, or if it forms part of a ligature (where it can be used only in
a descending direction), it will. have an initial brevis, if it has a
stem drawn downwards on the left.
Coussemaker p. 391 blO to p. 392al8
21
Signa rotunda in a 14th Century English Source
London, Westminster Abbey 12183, f. 2 recto
22
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25
Rule IV
Idem: It has already been noticed, that a ligature can be made cum pro-
prietate in two ways: In the first place, if it is an ascending ligature,
it is considered to be cum proprietate , as in the example of the first
rule of this rubric.
Rule V
Idem: In the second place, if it is a descending ligature formed of squares
or oblique figures, where there is a stem drawn downwards at the begin-
ning, it is to be considered to be cum proprietate , as in the following example:
\N
Maxim 7
Idem: No simple oblique figure may be said to be a ligature by itself;
the reason for this is, that oblique breves or semibreves can not be
found except in a single-note form, as long as they remain in a single
oblique figure. It is thus unusual to consider them to be ligated, since
a ligature requires at least two note forms; thus, the isolated, simple
oblique figure does not combine breves and semibreves in a ligature, but
rather in an oblique figure.
Rule VI
Idem: Several oblique figures, connecting paired notes, constitute a
ligature, as in the following example:
^^^/^^^
Rule VII
Idem: A descending oblique figure with a stem at the beginning is said
to be cum proprietate; an ascending oblique figure having a stem drawn
downwards at the beginning is said to be cum proprietate , as in the
following example:
\N< f*
Rule VIII
Franco: Whenever the second square is higher than the first, and the
first square has a stem drawn downwards on the right, it is said to be
sine proprietate.
Handlo: It is permissible in this case to have an ascending or descending
oblique figure above the first square, as in the following example:
Coussemaker p. 392al9 to p. 393a2
26
Rule DC
Franco: Whenever the first square is higher than the second, and has no
stem at all, it is said to be sine proprietate, as in the following example:
Rule X
Handlo: If many squares follow the first in an (initial) descending
direction, either as ligatures or oblique figures, and if the. first
square has no stem at all, the ligature is said to be sine proprietate,
as in the following example:
* >. A "SA^v
Maxim 8
Franco: In a ligature sine proprietate , the first note is a longa.
Rule XI
Handlo: No more than two longae may be contained in a ligatura longaris ,
either in a descending or ascending direction, as in the following example:
Rule XII
Idem: A longa simplex may either precede or follow a longa duplex
in a descending direction, as in the following example:
Rule XIII
In an ascending direction, the longa simplex is drawn back over the
longa duplex, but never vice versa, as in the following example:
Coussemaker p. 393a3 to p. 393b6
27
Rule XIV
Idem: A ligature sine proprietate may be recognised in three ways: In the
first place, if an ascending ligature has a stem drawn downwards on the
right side of the first square, as above; in the second place, if the
first square of a descending ligature has no stem at all; in the third
place, if a ligature begins with a descending oblique figure, which has
no stem at all, it is said to be sine proprietate , as in the following
example :
1
a
Rule XV
Idem: An ascending oblique figure must remain unattached, unless it is
preceded by a longa or a brevis, or several breves, or one of several
oblique figures, as in the following example:
? r < y us
Maxim 9
Idem: Nothing may be ligated or added to an ascending oblique figure
except a plica; there is really no point to using an ascending obliqiie
figure, unless it has a plica.
Rule XVI
Idem: Ascending and descending oblique figures, which have no stem at
all at the left, have an initial longa, as in the following example:
>
Rule XVII
Idem: The beginning of an obliaue figure may be made perfect if a dot
precedes it. The end of such a figure is determined by what follows it,
as in the following- example:
v'v^ -J. JJJJ..JJJJ. JJ J.
Rule XVIII
Idem: Single, descending oblique figures may or may not be plicated;
similarly, ascending ones, as in the following example:
Coussemaker p. 393b7 to p. 39^al3
28
N N ft| / / /
Rule XIX
Franco: Opposita proprietas is found whenever a stem drawn upwards is
used with the first square of a ligature or with the field of an oblique
figure, as in the following example:
w k >
Maxim 10
Handlo: And they are semibreves, where the smaller precedes the larger,
and they are contained in an oblique figure when they are alone, and
they are usually not ligated.
Rule XX
Idem: A square-shaped semibrevis may be ligated to an ascending or
descending oblique figure, as in the following example:
^^ ^ "S
Rule XXI
Idem: More than two semibreves may not be combined in a ligature or
oblique figure; if necessary, they can be conjoined alternatingly, as in
the following example:
Rule XXII
Idem: Square shaped and oblique semibreves may be combined with square
shaped and oblique breves, semilongae and longae , as in the following
example:
V^a= Jb j j j j j«hj j-j j
Rule XXIII
Idem: If the stem, which causes the opposita proprietas , i s shortened,
then the larger semibrevis will precede the smaller in an oblique
figure, not part of a ligature, as in the following example:
Coussemaker p. 39Hal4 to p. 39m>l2
29
Maxim 11
Franco: Every opposita proprietas is the sign of two semibreves .
Here begins the seventh rubric, which concerns itself with the re-
cognition of the significance of the final portions of ligatures.
Rule I
Franco: All middle notes are breves, unless opposita proprietas is as-
serted, in which case the middle note will be a semibrevis , as in the
following example:
^
, j) j j 'ji j j ji j j
Rule II
Handlo: It is logical that the first two notes should be semibreves , but
those which follow should never be; this has been shown in the examples
of the first rule of this rubric.
Franco: It is logical to assume, that a semibrevis cannot be found singly.
Handlo: The middle notes of ligated oblique figures are breves, as in
the following example:
Nvf^ = J J J J J J J J
Rule III
Idem: Square-shaped breves may be ligated to them, and all such middle
notes are breves, as in the following example:
N^VN = j J J J J J J J
Maxim i
Idem: In the middle of a ligature, an oblique figure is always used in
a descending, never in an ascending direction.
Coussemaker p. 394bl3 to p. 395al I
30
Here begins the eighth rubric, which concerns itself with the re-
cognition of the significance of the final portions of ligatures.
Rule I
Franco: Whenever the last square of a ligature is drawn back over the
next-to-the-last note, the ligature is said to be cum perfectione, as in
the following example:
3 <
Rule II
f
Idem: Whenever the last square of a ligature is found lower that the
next-to-the-last one, the ligature is said to be cum perfectione , as in
the following example:
Rule III
tiandlo: An ascending longa may always be drawn back over a longa, or over
a brevis , or several breves, or two semibreves marked bv a stem, or over
every descending oblique figure, and they -make the ligature perfect, as
in the following example:
p ^ ^ K
Maxim 1
Franco: Every ligature cum perfectione has a final longa.
Rule IV
Handlo: If a ligature continues in a descending direction, and if its
final note is a square, this will be a longa.. and it mav be found below
a longa, a brevis or many breves, or two semibreves , as in the following
example:
v * \ <
Rule V
Franco: Whenever the final square is not directly above the next-to-the-
last note, it is a brevis, as in the following example:
* ^ X
Coussemaker o. 395a!2 to 395b j 3
31
Rule VI
Idem: Whenever two notes are contained in an oblique figure at the end
of a ligature, the final one will be a brevis , as in the following example:
\ * y rJ
Rule VII
Handlo: In a descending ligature, a brevis may be ligated to a longa
duplex, but not vice versa, as in the following example:
Rule VIII
Idem: Similarly, a longa duplex may be ligated with another one in a
descending direction, as shown in the example of the preceding rule.
Rule IX
Idem: In an ascending ligature, a preceding longa duplex may be ligated
to another one or to a brevis, as in the following example:
Rule X
Idem: One or more breves may be ligated between two longae duplices, as
in the following example:
Rule XI
Idem: It is known that a brevis altera may often be hidden away in a
ligature of square-shaped and oblique breves, as in the following example:
*W = J J J J- J J J. J J J.
Maxim 2
Idem: It is wrong not to ligate notes capable of being ligated, or to
ligate those which may not be ligated.
Coussemaker p. 395bU to p. 396al 6
32
Here begins the ninth rubric, which concerns itself with the con-
junction of semibreves , and with those figures or ligatures in which
semibreves may be conjoined.
Rule I
Handlo: It should be noted that three smaller semibreves are normally
conjoined in an ascending or descending direction, and a punctus di-
v is ionis is used, whenever this is necessary, as in the following example:
Rule II
Idem: Minimae and ninoratae may similarly be conjoined with figurae
rotundae, as in the following example:
3 3 3 3
Rule III
Idem: Two semibreves can be conjoined with a longa or brevis, as in the
following example:
!•• T # "%V # = J JUJ JUJ /jj /j
Rule IV
Idem: Whenever two similar semibreves are conjoined, the first is the
smaller, the second the larger, as shown in the example of the third
rule of this rubric.
Rule V
Idem: This is true, unless an oblique stem prevents it; in such a case,
the semibreves will be dissimilar, and the first will be the larger, the
second the smaller, as in the following example , ».
iu n* y* v* = J '/j>j J J) J jij n
Coussemaker p. 396b! to p. 3 96b 1 4
1) Undoubtedly, what is meant is the same thing that W. de Doncastre
(Coussemaker p. 427) implies with the minorata senibrevis , or what we have
translated as the larger semibrevis; again, exceptionally, it may come first.
33
Rule VI
Idem: Two, three or four semibreves in ascending, descending, partially
ascending or partially descending direction may be conjoined with the
final portions of all ligatures and oblique figures, provided that the
ligatures or oblique figures are not plicated, as in the following example:
i . 3 r-\y-»
* % »\ a U f - J J J)j jg J72T7J. /jg'j>
Rule VII
Idem: Groups of four semibreves may be conjoined without a sign of
division, and they will have the durational value of one brevis ..as ii
the following example:
•••• *♦♦♦ = ffn nil
3 ?
Rule VIII
Idem: This is changed, if the method of division is different, as in the
following example:
Maxim 1
Idem: In such a case, three semibreves have the durational value of one
brevis; the fourth one belongs to the following group, that is, it is
counted as the durational value of the semibrevis inrnediately following,
or its equivilence.
Rule IX
Idem: Three or four semibreves may be conjoined witha6rei/is or a longa,
or vice versa, as in the following example:
iSi-V*
Coussemaker p. 397al to p. 397b5
1) This violates the dictum in rubric 4, rule III.
34
Rule X
Idem: A brevis preceding two, three or four semibreves , to which it is
conjoined, may not be unmodified, but must have a stem drawn downwards
on the left; in such a case, it is called a brevis coniugens, as shown
above in the examples of the third and ninth rules of this rubric.
Rule XI
Idem: Separate and oblique semibreves may be conjoined to total the
durational value of a perfection; such a conjunction has been shown in
the twenty first rule of the sixth rubric.
Rule XII
Admetus de Aureliana: The practical musicians of Navarra conjoin mi-
noratae and minimae in descending but never in ascending groups separated
by divisional signs, as in the following example:
^.♦u* = ihhh
Rule XIII
Idem: A larger or smaller, preceding semibrevis may be conjoined with
minoratae and minimae, as in the following example:
3
Rule XIV
Idem: And vice versa, minimae and minoratae may be conjoined with the
smaller or larger semibrevis or with either a ligature or an oblique-
figure, as in the following example:
1 3 3 3
Rule XV
Handlo: If five simple semibreves are found conjoined, and if there is a
punctus divisionis after three of them, these three have the durational
value of one brevis; the two following ones are considered smaller semi-
breves, if a single semibrevis follows, as in the following example |«:
♦ 3 3
Coussemaker p. 397b6 to p. 398al0
1) J. Wolf, Geschichte der Mensuralnotation, 1904 p. 132 and Handbuch der
Notationskunde, 1913 p. 342 considers this passage to refer to syncopation.
Unfortunately, the example in the treatise is corrupt, so that one cannot judge
35
Rule XVI
Idem: Two semibreves can be conjoined with ligated breves or vice versa;
an oblique figure may be conjoined with three smaller semibreves , or with
two followed by a minima and a minorata, or vice versa, as in the fol-
lowing example:
Maxim 2
Idem: A single brevis can be conjoined with every ligature or oblique
figure; in such a case, it is carried over to the following semibrevis ,
or its equivilence.
Maxim 3
Idem: A coniunctio ,* is an aglutination of musical figures, arranged
according to their fashion, above a syllable of text.
Maxim 4
Idem: The best thing to do is to conjoin all notes capable of being con-
joined, and to avoid doing that to notes incapable of being conjoined.
Maxim 5
Idem: Thus , the art of notational design, which every practical musician
must master, lies in the proper interpretation of musical symbols,
whether they be ligatures, oblique figures or coniuncturae .
Here begins the tenth rubric, which concerns itself with the manner
in which ligatures and oblique figures may be plicated, and the way in
which a longa simplex becomes the same as a longa erecta by virtue of
its plica.
Maxim 1
Handlo: A plica may only be added to the end of a ligature or oblique figure.
Coussemaker p. 398a! I to p. 398bm
whether this was Handlo' s intention or not. It would appear, however, that in
this example, the sense is that five semibreves are in a coniunc tura, id est,
they are sung to the same syllable of text. These then will have the durational
value of two breves, especially if a punctus div is ionis is present, the first
three totaling a brevis and being equal to each other; the latter two are
semibreves minores if a s emibrevis divisa occurs. Divisus , however, means nee
in coniunc tione , or with a separate syllable. Thus, there is no implication of
an unresolved rhythmic value, as Wolf implies.
1) The more. usual, term is coniunc tura, rather than coniunctio.
3n
Rule I
Franco: A plicated square at the end of a ligature has the durational
value of a longa.
Handlo: This is true, whether the ligature ascends, descends, partially
ascends or partially descends, as in the following example:
. d, sr V = J J i/j> ^ ifi J J J A J JJJ*
Rule II
Franco: Whenever two notes are found in an oblique field at the end of a
ligature, and there is a stem drawn upwards or downwards at the end, the
last note is considered a plicated brevis, as in the following example:
ry, ^ /1 = J J Jjfr J. J Jjfj J. J J jVj
Rule III
Handlo: An ascending oblique figure should be plicated; otherwise, the
ascending oblique figure should be avoided, as we have indicated above
in the ninth maxim of the sixth rubric.
Idem: An oblique figure containing two semibreves may have a plica drawn
upwards or downwards, as in the following example:
ki»S.' ^,m = J> }/*
3
etc.
Rule IV
Idem: Three smaller semibreves may only have a plica drawn upwards at
the end, as shown in the example of the eighth rule and in the following
sixth maxim of the first rubric.
Rule V
Idem: The longa duplex can be plicated in an ascending or descending
direction, as in the following example:
. I J /j , I J W
Coussemaker p. 398bl5 to p. 399al6
37
Rule VI
Idem: It also may be plicated in an ascending or descending direction at
the end of a ligature, as in the following example:
Rule VII
Idem: It is known, that a longa or semilonga at the end of a ligature or
oblique figure, having a stem drawn upwards, will be transformed into a
longa erecta, whenever a note or rest follows, to which the plica can be
directed; in such a case, it is called a longa erecta, as in the following
example :
n , j . = j j j /j j j j jTj i
Maxim 2
Idem: Consequently, every ligature or oblique figure may be plicated at
the end in an ascending or descending direction, whether it consists of
longae , breves or semibreves .
M
laxim
Idem: A. Every coniunctura of smaller semibreves may be plicated at the
end in an ascending, but never in a descending direction; coniuncturae
of minimae and minoratae , however, may never be plicated.
B. The greater longae, those which exceed the durational value of
one longa duplex, may neither be plicated nor ligated.
C. Thus, these notes must be written out in full.
Max
lm
Idem: The brevis alterata can be plicated at the end of a ligature or
oblique form, as long as it is distinct graphically from a longa or
semilonga following.
Maxim 5
Idem: The term longa can be said to be identical with the term perfection
or imperfection, as when it has the durational value of a semi longa, as
has been shown in the first and second maxims of the second rubric.
Here begins the eleventh rubric, which in a single maxim concerns
itself with the durational value of plicae
Coussemaker p. 399al7 to p. 400a3
38
Maxim 1
Handlo: A. It is known, that the plica of a single longa duplex has the
durational value of a larger semibrevis.
B. A plica of a longa or semilonga has the durational value of a
smaller semibrevis.
C. A plica of a brevis has the durational value of a smaller
semibrevis.
D. A plica of a larger semibrevis has the durational value of a
minorata.
E. A plica of a smaller semibrevis has the durational value of a
minima.
F. A square-shaped semibrevis in a ligature cannot be plicated,
neither can a minima nor a minorata.
Here begins the twelfth rubric, which concerns itself with the
rests made by the pausing of the voice.
Maxim 1
Franco: There are six kinds of rests:
A. The first contains three durational units.
B. The second, two.
C. The third, one.
D. The fourth, two parts of one.
E. The fifth, the third part of one.
F. The sixth and final one "contains no durational units, but
could be termed an unmeasured rest.
The reason that this last one is used is, that wherever the next-to-
the last note is designated to be long, it may nevertheless be notated
as a brevis or semibrevis (to preserve the identity of the mode).
Maxim 2
Handlo: Minoratae and minimae do not have rests which correspond in dura-
tional value.
Maxim 3
Franco: A. A rest of three durational units will cover three spaces or
three beats, or two wholes and two halves; a rest of two durational
units will cover two spaces, or one whole and two halves.
B. A rest of one durational unit will cover one space or two
half spaces.
C. A rest of two parts of one durational unit will cover two
parts of one space.
D. A rest of one part of one durational unit will cover the
third part of one space.
Coussemaker p. 400a4 to p. M-OObl I
39
E. An immeasurable rest is used at the end of a period and covers
four spaces; forms which cover five spaces are also known for this kind
of rest.
Maxim 4
Idem: The durational value of 1 1/3 semibreves is quite often caused by
a rest of two parts of a smaller semibrevis added to a minorata.
Maxim 5
Iacobus de Navernia .,: There are three kinds of hockets.
A. The first kind uses a brevis with a rest of one or two dura-
tional units appended to it, or vice versa.
B. The second kind uses a smaller semibrevis appended to a rest of
two parts of one durational unit, or vice versa.
C. The third kind attaches a rest of one third of one durational
unit to smaller semibreves. This last kind is the most difficult of all.
Maxim 6
Idem: If indeed the hocket should make use of three smaller semibreves ,
utilising rests of the third part of a durational unit, the unity of
the composition is restored after the hocket and after its rests, so'
that the error engendered by the rests and the smaller semibreves may be
eradicated.
Maxim 7
Iohannes de Gar landia: A hocket never utilises minimae and minor at ae ,
because there are no rests for use in the hocket; consequently, these
notes cannot be used in a hocket.
Here begins the thirteenth rubric, which concerns itself with how
many rhythmic modes or mensurations are found in melodies.
Maxim 1
Franco: Modern musicians propose five rhythmic modes for vocal music.
Coussemaker p. 400b 12 to p. 40lall
I) Anon. IV (Coussemaker, p. 345a) mentions older books from Pomplensa, the
capital of Navarra, so that this James came from an area with a long tradition.
Pomplensa is not far removed from Burgos, where the tradition represented at
Las Huelgas is found in the famous manuscript from that cloister (confice the
article Las Huelgas in Die Musik in Geschichte und Ge genwart) . Perhaps it is
significant that a Spaniard dirscusses the hocket, since a certain Spaniard had
written the hocket In seculun (confice the article In seculun in MGG) .
40
Rule I
Idem: The first mode consists exclusively of longae perfectae , as shown
in the following motet ^,.
s-v-i
In Beth- le- em
/L {>■ v
H^-l^ 9 "
fJm
i» a P 9 ~
m iff
A-mours mi
,/&«/ re-Jo -
ir
^V monfin cuer
if Is \S
P' -.
(J-
-r ©-=
^ '
* In
fib *v.
— i
Beth-
-6)-=
-A^z-
le-
tf
In
Beth-
le-
Max
lm l:
Handlo: This mode is considered the most perfect, because all other
modes are derived from it {id est, represent divisions of the longa I .
Rule II
Franco: Or the first mode consists of a longa, brevis and longa, as
shown in the example cited. 2»«
is-
^
#
3fa-ri-a f ma-ris stel-la, Ple-na gra-ti- t
Maxim 3
Handlo: In the first mode, one finds a rest of three durational units,
if a longa has preceded, or a rest of two durational units if a brevis
has preceded, or a rest of one durational unit, if a semilonga has preceded,
or rests of one, two and one durational units, if a semilonga has preceded.
Coussemaker p. HOI al 2 to p. H0la23
1) Incipit of a transcription of the motet as contained in the manuscript
Pans, Bibliotheque nationale, nouv. acq. frc. 13521 f. 382r-v ( p 755-756),
facsimile in Facsimiles of Mediaeval Musical Manuscripts Vol. IV. This triplum
is unique in this source.
2) This example is erroneously appended to the previous one in Coussemaker* s
edition; this motet has been transcribed by Y. Rokseth, Polyphonies du 13e
siecle, 1936-1939 II No. 52.
41
Maxim 4
Idem: A. In the first mode, if the senilonga is replaced by a ligature,
by an oblique figure, by a coniunctura of semibreves , or by a rest of
two durational units, where the individual brevis is not changed, it
becomes important to establish the nature of this first mode.
B. The same thing is true, if the individual brevis is replaced
by a ligature, oblique figure or coniunctura of semibreves or by a rest
of one du rati one 1 unit.
Rule III
Franco: The second mode consists of a brevis, ionga and brevis, as shown
in the following example:
i)
fa 1 a
3:
Mane primi sabbatini
Mane pritrti sabbatini
Maxim 5
Handlo: In the second mode, one finds a rest of two durational units, if
a brevis has preceded, or a rest of one durational unit followed by a
semilonga rest of two.
Maxim 6
Idem.: A. In the second mode, if the brevis is replaced by a ligature, by
an oblique figure, by a conianctura of semibreves, or by a rest of one
durational unit, where the following individual semi longa is not changed,
it becomes important to establish the nature of this second mode.
B. The same thing is true, if the individual semilonga is replaced
by a ligature, oblique figure or coniunctura of semibreves or by a rest
of two durational units.
Rule IV
Franco: The third mode consists of a longa and two breves and a longa,
as in the following motet:
J
fr
■ B
Quid mi-ra-ris par- turn vir-gi-ne-um
Quid mi-ra - ris par-turn vir-gi-ne - um
Coussemaker p. 401 bl to p. 401 b23
1) This example, textiess in the source, is identical with the tenor Mane
primi sabbati, which is used for the composition Montpellier No. 51 (confice
Rokseth, opere citato).
2) For this and the following transcription, confice F. Ludwig, Archiv fur
Musikwissenschaft, V 1923 p. 296 footnote 2.
42
Maxim 7
Handlo: In the third mode, one finds a rest of three durational units,
if a longa has preceded.
Rule V
Franco: The fourth mode consists of two breves and a longa and two breves,
as in the following example:
>»■ ' t ■ t ■ i ■ -? J ' i ' ' 1 ' M " • I 1
Ro-su-la pri-mu-la Sal-ve Ies-se vir-gu-la Ro-su-la pri-mu-la Sal-ve Ies - se vir-gu-la
Maxim 8
Handlo: In the fourth mode, one finds a rest of three durational units.
Maxim 9
Idem: The third and fourth modes must be altered, if they are presented
in mos lascivus, as in the fifth maxim of the fourth rubric.
Rule VI
Franco: The fifth mode consists entirely of breves and semibreves , as in
the following examples j».
Coussemaker p. 402al to p. 402al2
1) All of the known musical settings of this motet have been given. With the
exception of the uppermost part of the transcription, this composition forms a
four-part motet, which is complete only in the manuscript: Paris, n.a.frc. 13521
(confice footnote 1, p. 40). In this version, the text Quant froidure is used
for the triplum. All other extant versions have fewer parts. Wolfenbuttel 1099,
f. 123 r and Florence, plat. 29,1 f. 396 v use the triplum and motetus with the
text Agmina milicie, written by Chancellor Philippe, whereas Wolfenbuttel 1099,
f. 134 r uses Quant froidure in both parts. Agmina milicie is used in the motetus
in a two-part setting in London, British Museum, Egerton 27 U f. 45 r , and this
text is combined with the quadruplum in Bamberg No. VI (confice, P. Aubry, Cent
Motetsdu 13e siecle, II 1908, p. 14) with the text Agmina milicie candencia.
Finally, the motetus, which with the tenor constitutes the clausula in Paris,
lat. 15139 No. 40 f. 292 v , is provided with the Provencale text: L'autrier
cuidai aber druda tota la meillor, in both the clausula and in Paris, frc. #44
f. 199 v , in which latter case, as well as in lat. 15139 f. 292 v , it is written
for one voice (confice J. Beck, Die Melodien der Troubadours , 1908 p. 65ff. ).
The uppermost part is found only in treatises, whereby the insert in original
notation appears in Handlo' s treatise. This same excerpt appears in a three-part
setting in Odington's treatise (Coussemaker p. 248) with the motetus Agmina and
tenor; this version has been used for the transcription, confice also Coussemaker,
Histoire de I'harmonie au moyen age, 1865 p. 262; ibidem for Novum melum and
Coussemaker p. 424b. Regina regni is apparently unique.
43
Hg
& A-gmi-nafi-
W
4
Dv
~ZL
~0~
A - gmi-
Quant froi-
i
i
4H8-
se
de-li-um Ka
■&-*-
la
-e-
na
du
&~
#
7W2
Prn frrrTT
te-ri-na lau
7Z-
dant prt-co-ni-
vir
ge
~W-
li - ci
trait a
m
Ka
~TT~
e
fin
te-
ce-
en-
i
^-
£
n - tie
(J g
con -ire
i
1 1
chan-tt-
- 7H7W-
#■#
s
raz,
g=t
a
ii
f
^ - gmi-
na mi -
ft - ci
ce-
les - tis
o - mm-
&
1
2Z
J5^-
Z2
Agmina
♦
■ ♦• * ♦ ■
6
4.
h"
•♦.* ■
V
A-gmi-na fi - de-li-um Ka - te-ri-na
♦ ♦— i ♦— *
No-vum me-los pro-me-re
s <& f f f r p ^^
8
Xo-vum me-los pro-me-re
-♦v
» • ♦ • .
♦ ♦ ♦. ♦
■«—I-
Re-gi-na re-gni glo-ri-e So
3 3- s
la sal-ve sin-gu-la-ris gra - ti - e
Re-gi-na re-gni g!o-ri-e So - la sal-ve sin-gu-la-ris gra - ti - e
44
Maxim 10
Handlo: In the fifth mode, one finds a rest of three durational units,
if a longa has preceded, or of one durational unit, if a semilonga rest
has preceded, or of two durational units if a brevis rest has preceded,
or of two thirds of one durational unit, if a smaller semibrevis has
preceded, or of one third of one durational unit, if a larger semibrevis
has preceded, or if two smaller semibreves have preceded.
Maxim 11
Idem: A. The following types of compositions appear in this mode: all
hockets, rondeaux, ballades, coreae , cantifractus , estampies and flori-
turae jt, and all kinds of breves and semibreves under the sun comprise
this fifth mode, which is made up of semibreves , breves and longae .
B. In the fifth mode, three breves have the durational value of a
perfection, or three units.
C. Occasionally, only two breves will comprise a perfection, in
which case, one of them is a brevis altera.
D. Franco's intention has been shown in this method of computation.
Maxim 12
Idem: All of the previously mentioned modes may easily be reduced to the
fifth mode.
Maxim 13
Idem: The five modes, which we have listed, may be used in combination.
Thus, if one mode has been used for one or more perfections, and is
followed by a different one, then a punctus divisionis is added between
the modes, that the mixing of the modes may be more easily recoernised.
Maxim 14
Idem: The maxims differ from the rules, in that, whereas the rules use
examples, the maxims are understood directly without examples, the text
explaining the meaning.
Maxim 15
Idem: Every kind of. mensuration, and the rhythm of all songs have been
reduced to five modes. If we were to continue to make more rules and
maxims, we would never come to an end. Nevertheless, my esteemed reader,
study these books well and preserve their import; it is intended for
all practical musicians; and pray God for the preservation of the Holy
Scriptures. Thus, the end of this book is given over to the Glory of
Christ.
Here end the rules with additions, finished on the Friday just
before Pentecost, in the year of our Lord 1326, Amen.
Coussemaker p. 402b! to p. i|03b6
i)
turae
Coreae = Cantus coronati?; cantifractus also suggests a hocket, and floi
melismatic (instrumental?) passages.
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